Today I am releasing the new AO486 DOS Shareware pack to the public. This includes an all new DOS Frontend interface developed by BBond007 (https://www.youtube.com/user/binarybond007). The pack is 100% shareware and opensource so it can be shared freely to give a great base for future packs and to show off all the new features. There are no Commercial products in this release. Over 100 games, 30 DOS shareware screensavers, MOD and MIDI Music, Music Players, and shareware DOS applications all built on the FreeDOS OS.

Shareware Pack includes: Over 100 DOS Shareware titles that have been tested and configured for the MiSTer AO486 PC Core. ANSI art and gamecards built for each game. MyMenu Features: MyMenu is a DOS frontend designed to allow you to quickly launch DOS games, applications, scripts, and music.

Launch scripts, exe, bat, or any custom extension that you configure in the MyMenu.ini configuration file. Add any game to C:\Games\My Cool Game Name\ and it will now show in MyMenu automatically. We have tested up to 10,000 games in the list!

Other Feature: DOS Long File Name support Autorun.bat -- Autorun any game Readme.ans -- ANSI Readme and gamecard for each game! ANSI and ASCII art support for browsing ANSI and creating custom game cards for the interface ANSi Terminal (COM) and (Console) support Quickly set MiSTer core speed and cache options Screensavers CGA/VGA Support Music player integration for MOD, MIDI, XM, A2M, and MP3. Terminal Support for MidiLink, Serial, and BBS connection.

Github scripts integration and updates coming!

bbond007's MidiLink: https://github.com/bbond007/MiSTer_MidiLink

Latest release located at: https://github.com/flynnsbit/DOS_Shareware_MyMenu Under Releases.

Introduction and History lesson 00:00 Pack Demonstration: 05:00 MyMenu DOS Interface: 06:00 Autorun.bat and README.ANS Demo: 10:05 Doom Demo: 11:23 Edit Autorun.bat: 12:30 Broken games moved: 12:55 MyMenu ANSi: 13:11 MyMenu Apps/Games/Music/Ansi: 14:00 MyMenu Music and MIDI Demo: 14:23 MyMenu ANSI Art examples: 15:51 MyMenu Quick feature list and readme: 16:21 MyMenu F1 Menu: 17:20 MyMenu MT32-Pi Integration Menu: 17:58 MyMenu Screensavers: 18:21 MyMenu.ini configuration options: 18:45 MyMenu Screensavers config and demo: 19:40 MyMenu Utilities and Memory Management: 22:37 Explosiv! Screensaver Setup: 24:00 MP3's and Internet Radio on MiSTer: 25:14 Download Midilink: 25:41 MP3 Music Tracks and Internet Radio in AO486: 26:00 WHAT IS THIS SONG!!? : 28:06 Mp3 songs as Music track in DOS games: 28:25 MyMenu MP3 Quicklinks: 29:15 Internet Radio Playlists as Music Track in DOS: 29:31 Internet Radio in DOS - Classic Rock: 30:38 Internet Radio in DOS - Dance: 31:48 MyMenu Color Templates and Themes: 32:20 MiSTer console control of MP3s from batch scripts in DOS: 33:56 DOS Doom w/ Doom Eternal Mp3 Soundtrack in DOS Demo scripted: 35:57 DOS Earthworm Jim w/ MP3 Music Playlist: 38:02 DOS SimCity 2000 w/ MP3 Music Playlist: 39:23 Conclusion and Download: 40:00

In her new book Race After Technology: Abolitionist Tools for the New Jim Code, Ruha Benjamin breaks down the “New Jim Code,” technology design that promises a utopian future but serves racial hierarchies and racial bias.

In her new book Race After Technology: Abolitionist Tools for the New Jim Code, Ruha Benjamin breaks down the “New Jim Code,” technology design that promises a utopian future but serves racial hierarchies and racial bias.

Playfully Subscribe: https://www.youtube.com/channel/UCCIS_QuklPMwuEnfnjjHKfg?sub_confirmation=1

Twitter: @FormingFiction

Watch Some Stuff: Extra Credits, Because Games Matter: https://www.youtube.com/watch?v=C6xz58O4xq8

Bibliography: Hunicke, Robin/LeBlanc, Marc/Zubek, Robert, MDA: A Formal Approach to Game Design and Game Research, https://users.cs.northwestern.edu/~hunicke/MDA.pdf

6-11 Framework: https://www.academia.edu/1571687/THE_6-11_FRAMEWORK_A_NEW_METHODOLOGY_FOR_GAME_ANALYSIS_AND_DESIGN

Huizinga, Johan, Homo Ludens. A study of the play-element in culture, http://art.yale.edu/file_columns/0000/1474/homo_ludens_johan_huizinga_routledge_1949_.pdf

Dillon, Roberto, On the Way to Fun. An Emotion-Based Approach to Successful Game Design, https://www.amazon.com/Way-Fun-Emotion-Based-Approach-Successful/dp/1568815824

Kotte, Andreas, Theaterwissenschaft. Eine Einführung, https://tinyurl.com/y43bdvj4

Jung, C. G., and Joan Chodorow, Jung on Active Imagination, https://tinyurl.com/y627n6gp

Music: "The Process" by LAKEY INSPIRED: https://www.youtube.com/watch?v=daWvummA8ZQ

"Pokemon Gym" by Mikel: https://www.youtube.com/watch?v=2DVpys50LVE

"Hopes & Dreams" by Jonas Munk Lindbo: https://www.youtube.com/watch?v=qNp4_pFkM5Q

Other: Ace Attorney Font: BMatSantos

http://www.kojimaproductions.jp/en/

Actor/impressionist Jim Meskimen (Parks & Recreation, Whose Line?, The Marvelous Mrs. Maisel) recites "Pity the Poor Impressionist" poem in 20 celebrity voices, with the help of SHAM00K.

BTS: https://www.youtube.com/watch?v=Wm3squcz7Aw

Please Share, Like and Subscribe. Deep Fake visuals by SHAM00K YouTube: https://bit.ly/2olXCcK Twitter: https://bit.ly/2ohyP9L Contact: lubsey93@gmail.com

Contact Jim Meskimen: www.jimmeskimen.com

John Malkovich https://youtu.be/5rPKeUXjEvE?t=5 Colin Firth https://youtu.be/5rPKeUXjEvE?t=13 Robert Deniro https://youtu.be/5rPKeUXjEvE?t=18 Tommy Lee Jones https://youtu.be/5rPKeUXjEvE?t=25 Nick Offerman https://youtu.be/5rPKeUXjEvE?t=31 George Clooney https://youtu.be/5rPKeUXjEvE?t=36 Christopher Walken https://youtu.be/5rPKeUXjEvE?t=41 Anthony Hopkins https://youtu.be/5rPKeUXjEvE?t=49 Dr. Phil https://youtu.be/5rPKeUXjEvE?t=56 Nicholas Cage https://youtu.be/5rPKeUXjEvE?t=1:01 Arnold Schwarzenegger https://youtu.be/5rPKeUXjEvE?t=1:08 Morgan Freeman https://youtu.be/5rPKeUXjEvE?t=1:15 Bryan Cranston https://youtu.be/5rPKeUXjEvE?t=1:19 Christoph Waltz https://youtu.be/5rPKeUXjEvE?t=1:26 Joe Pesci https://youtu.be/5rPKeUXjEvE?t=1:34 Jack Nicholson https://youtu.be/5rPKeUXjEvE?t=1:39 George W. Bush https://youtu.be/5rPKeUXjEvE?t=1:46 Ian McKellen https://youtu.be/5rPKeUXjEvE?t=1:53 Ron Howard https://youtu.be/5rPKeUXjEvE?t=2:00 Robin Williams https://youtu.be/5rPKeUXjEvE?t=2:05

Pity The Poor Impressionist By Jim Meskimen ©2016

Is anything more sad and lame contemptible, beneath disdain, In short, provoking of disgust than being an impressionist?

A third rate, even fourth rate skill, the definition of "cheap thrill". Like watching farm equipment rust is watching an impressionist.

A relic from a distant day that long since should died away, dishonorably mentioned is the pitiful impressionist.

Weird, and somewhat ostentacious tired debris from old Las Vegas, whose former fans have all dismissed allegiance to impressionists.

How many opportunities passed up and wasted because he's Hell-bound to follow what he must? Pity the poor impressionist.

Doomed to live an abject failure dogged by his own echolalia. Better to crumble into dust than live as an impressionist.

His borrowed voices can't deflect a life of well-deserved neglect. His name's on simply no one's lips; forgotten, vain impressionist.

That sound–did anybody moan? That creature at the microphone is last on everybody's list; forgettable impressionist.

When Peter at that shiny gate condemns those souls who imitate he will but shake a heavenly fist and curse condemned impressionists.

But 'til that time we'll tolerate the good for nothing reprobate, and hide the truth: that we're just pissed that WE can't be impressionists!

Daniel Dennett talks to Jim Al-Khalili about the evolution of the human brain.

https://www.bbc.co.uk/programmes/b08kv3y4

Filmed in Sheffield on the 6th and 7th and premiered on the 9th June 2018 at The Leadmill, Sheffield. A Live Cinema UK commission for Sheffield Doc|Fest 2018. More at https://www.thereduxproject.com/threads

STARRING Isabelle France as RUTH Harry Browse as JIMMY Ashley Gregory as BOB and Saffron Kershaw-Mee Nicole Henson Lucia Allen Shaun Stone-Riley Steve Shields Max Fyldes Steve Moseley Lucie Oates Oscar Aujla Jack Starr Barry McKeown Richard Humph Ruth Humph Spleenydotson Mark Perkins Oliver Ibbotson Alex Mckelvy Dan Kahn David Chang Sarah Calcutt Chris Boyd Sarah Lenthall Abbie Laycock Jane Lappin David Lappin Diane Chaplin Declan Bracewell Mark Flude Abbie Chin Wayne Hoyle Dave McClelland Adris Asghar Bird Lovegod Omar Aysha Tony Griffin Pauline Zelaieta Lisa Bushby Sergiu Radu Mona Lisa Charlie Marbles Eleanor Spivey Tom Bloomfield Luci Briginshaw Colm McAuliffe Kate Linderholm Magid Magid Elizabeth McIntyre

PROTEST MATERIALS BY Bannabel

THING DOER Taylor Iscariot

SECOND UNIT CAMERA PROVIDED BY Jambareeqi

WITH THANKS TO Live Cinema UK Sheffield Doc|Fest BBC Sheffield The Nottingham House Sheffield City Hall The Moor Graves Gallery Surriya Falconer Chris Harvey Graham Walker Nia Childs Dan Hayes Paulette Edwards Kate Linderholm Jude Rogers Philippa Barr Danny Hardaker Mick Jackson and the Lord Mayor of Sheffield

WARDROBE PROVIDED BY Mooch Vintage

COMING SOON Get Carter & Atonement

EXECUTIVE PRODUCERS Lisa Brook Kate Wellham

PRODUCED AND REDUXED BY Richard DeDomenici

All footage taken from the original Rear Window (1954) directed by Alfred Hitchcock. The order of events is pretty much as seen in the movie. more info: jeffdesom.com/hitch/ Hungarian Dance No. 5 composed by Johannes Brahms arranged for easy listening by Hugo WinterhalterCast: Jeff DesomTags: Alfred Hitchcock, Jimmy Stewart, Rear Window, Timelapse, Tilt-Shift, Loop, Panorama, 1954, Remix, Used Footage, Patchwork and After Effects

Suzumori Endo Lab, Tokyo Tech has developed Musculoskeletal robot driven by multifilament muscles.

Project members: Shunichi Kurumaya, Ryusuke Morita, Masatoshi Fukuda, Hiroyuki Nabae, Gen Endo, Koichi Suzumori.

Our lab's URL is here (Japanese). http://www-robot.mes.titech.ac.jp/home.html

This video can be used for informational purposes such as Internet Web pages. This general permission extends to media and personal Web pages except for advertisement. Please clearly state copyright for the source of the material, "Suzumori Endo Lab, Tokyo Institute of Technology".

Any further questions, please contact our public relations at Tokyo institute of Technology. Thank you.

Mail to : media@jim.titech.ac.jp

For more from the AT&T Archives, visit http://techchannel.att.com/archives

Jim Henson made this film in 1963 for The Bell System. Specifically, it was made for an elite seminar given for business owners, on the then-brand-new topic — Data Communications. The seminar itself involved a lot of films and multimedia presentations, and took place in Chicago. A lengthy description of the planning of the Bell Data Communications Seminar — sans a mention of the Henson involvement — is on the blog of Inpro co-founder Jack Byrne. It later was renamed the Bell Business Communications Seminar.

The organizers of the seminar, Inpro, actually set the tone for the film in a three-page memo from one of Inpro's principals, Ted Mills to Henson. Mills outlined the nascent, but growing relationship between man and machine: a relationship not without tension and resentment: "He [the robot] is sure that All Men Basically Want to Play Golf, and not run businesses — if he can do it better." (Mills also later designed the ride for the Bell System at the 1964 World's Fair.) Henson's execution is not only true to Mills' vision, but he also puts his own unique, irreverent spin on the material.

The robot narrator used in this film had previously starred in a skit for a food fair in Germany (video is silent), in 1961. It also may be the same robot that appeared on the Mike Douglas Show in 1966. Henson created a different — but similar — robot for the SKF Industries pavilion at the 1964 World's Fair.

This film was found in the AT&T Archives. Thanks go to Karen Falk of the Henson Archives for providing help and supporting documentation to prove that it was, indeed, a Henson production..

Footage courtesy of AT&T Archives and History Center, Warren, NJ

@ Barbican Centre - Magnificent Obsessions (Jim Shaw's painting collection)

♲♲♲♲♲♲♲♲ by Jimmy Kipple Sound / @jmmy_kppl Part of the #GIFbites Project for Bitrates Exhibition ↻ L↺↻p it! ↺

Shiraz Art House • Daralhokoomeh Project • May/June 2014 As part of Bitrates - an exhibition curated by Morehshin Allahyari and Mani Nilchiani at the Dar-ol-Hokoomeh Project, Shiraz, Iran – I asked 50 artists to create or curate an animated GIF with a short snippet of audio, to be looped together ad infinitum at GIFbites.com. For the opening of Bitrates on May 23rd a select version of this project will be displayed in the gallery, followed by a complete showcase of all the GIFs for the GIFbites exhibition, opening on May 30th in Shiraz Art House (Daralhokoomeh Project). GIFbites In an era of ubiquitous internet access and the extensive post-production of HD and 3D images, the animated GIF has an ironic status. Small in dimension and able to be squeezed through the slenderest of bandwidths, GIFs hark back to a World Wide Web designed for 640×480 pixel screens; a web of scrolling text, and not much else. Brought on – ironically – by their obsolescence the animated GIF has become a primary medium of communication on the contemporary net. The simplicity, freedom and openness of the medium allows even the most amateur web enthusiast to recuperate images plucked from TV, cinema, YouTube, CCTV footage, cartoons, videogames and elsewhere in their desire to communicate an idea or exclamation to the world. GIFbites is a mesmerising homage to brevity and the potential of poor, degraded images to speak beyond the apparent means of their bitrates. The results will hopefully navigate the web for many years to come, stimulating cut-and-paste conversations undefinable by Google’s search algorithms. GIFbites Project Page • بیت بر ثانیه / Bitrates Facebook Event Coming Soon: Bitrates/GIFbites Lp! Featuring the work of 50 artists

Morehshin Allahyari Mizaru/Kikazaru/Kyoungzaru Kim Asendorf & Ole Fach

Eltons Kuns Anthony Antonellis Lawrence Lek

LaTurbo Avedon Gretta Louw Jeremy Bailey

Sam Meech Alison Bennett Rosa Menkman

Emma Bennett A Bill Miller Benjamin Berg

Lorna Mills Hannah Black Shay Moradi

Andrew Blanton Nora O Murchú Nicolas Boillot

Alex Myers Tim Booth Peggy Nelson

Sid Branca David Panos Nick Briz

Eva Papamargariti elixirix Holly Pester

Jennifer Chan Antonio Roberts Theodore Darst

Daniel Rourke Angelina Fernandez Alfredo Salazar-Caro

Annabel Frearson Rafia Santana Carla Gannis

Jon Satrom Emilie Gervais Erica Scourti

Shawné Michaelain Holloway Krystal South Nathan Jones

Arjun Ram Srivatsa Nick Kegeyan Linda Stupart

Jimmy Kipple Sound Daniel Temkin

If there is one issue in contemporary life that supposedly defines the progressive nature of liberal societies, it is gay rights. Over the past half-century, most of the world’s Western democracies have seen incredible strides toward fuller acceptance of gay people. In the United States, the pace is, if anything, increasing, as each step toward full equality—from the striking down of anti-sodomy laws, to the Supreme Court’s recent decision voiding the Defense of Marriage Act, to the increasing number of state legislatures legalizing gay marriage—builds on prior ones.

The sense of history moving forward is not limited to people who cheer on this expansion of rights. When Justice Antonin Scalia dissented from the majority opinion in Lawrence v. Texas (2003), the case that struck down the Lone Star State’s anti-sodomy law, he wrote, “If moral disapprobation of homosexual conduct is ‘no legitimate state interest’ for purposes of proscribing that conduct…what justification could there possibly be for denying the benefits of marriage to homosexual couples exercising ‘[t]he liberty protected by the Constitution?’” The more recent decision in United States v. Windsor—which did not legalize gay marriage in all fifty states—allowed Scalia to make another slippery-slope prediction: “By formally declaring anyone opposed to same-sex marriage an enemy of human decency, the majority arms well every challenger to a state law restricting marriage to its traditional definition.” Scalia’s views are odious, but it’s hard to look at the history of the issue and doubt that he is right: gay marriage is coming to all fifty states, and he can’t do a thing about it.

To John Gray, the British philosopher, political theorist and wide-ranging cultural critic, the optimistic narrative I have sketched is another example of fanciful, misguided optimism. According to Gray, human flourishing is cyclical, and does not inevitably increase over time. Advances are followed by setbacks, and eras of peace by horrific wars. Unprecedented developments in medicine, science and women’s rights in the first half of the twentieth century were succeeded by the worst conflict in human history. Jim Crow came after Reconstruction. And revolutions that initially seemed to offer the promise of more freedom—whether in France or Iran or Egypt today—have led to violence and depravity, if not chaos. One imagines Gray arguing that of course the Western world could see a further entrenchment of gay rights; at the same time, an unknown series of events might lead to the reverse scenario. All we know is that we don’t know.

What concerns Gray, as he has argued in numerous articles, books and lectures, is that those who believe in steady progress are foolishly engaging in teleological thinking. “Progressives”—in the most literal sense of the word—have replaced religion with a faithful humanism that allows for a nearly supernatural view of human functioning, behavior and flourishing. Rather than viewing humans as just another member of the animal kingdom, “humanists” believe that our species can fulfill a unique destiny and reach The End of History. This faith in progress, Gray believes, will end up leading to great crimes and disasters. Ideological fanaticism, whether rooted in a teleological view of human liberation, national destiny or divine provenance, has led us down this road before.

Gray has become one of the most visible and prolific public intellectuals of the past decade, and he is almost always worth reading. His knowledge of philosophy and history is nicely integrated with his passion for literature and the arts. He would scorn the title of humanist, but his writing contains a wide-ranging curiosity about other people. In his recent work, however, he has chosen to simplify the arguments of writers he scorns and proclaim that anyone who disagrees with him is near messianic in his or her thinking. Gray’s incessant pessimism about humanity’s ability to spark durable change has produced its own form of teleology. As E.H. Carr wrote in “What Is History,” “To denounce ideologies in general is to set up an ideology of one’s own.”

People who have moved through various stages of political orientation have a tendency to prove that the last stage of ideological drift is ideological certainty. David Horowitz went from honorary Black Panther to contented Reaganite before settling into the role of insufferable campus troublemaker. Arianna Huffington metamorphosed from anti-feminist Republican to establishment centrist and, at least for the time being, into a harsh critic of the financial system and committed liberal partisan.

Gray would at first appear to be an exception to this rule. Although he has inhabited the roles of moderate Thatcherite, admirer of Tony Blair’s New Labour experiment and strong opponent of the Iraq War, he currently scorns free market evangelism and interventionism. His general political outlook now appears to approximate that of a mainstream liberal, if only because he heaps scorn on anyone too far on either side of the current political spectrum. (Mainstream liberalism has made its compromises with imperialism and more rapacious forms of capitalism, and so it is to Gray’s credit that he has devoted so much energy to criticizing both.)

It is in the field of criticism—in both senses—that Gray has flourished. His close reading of Marx has frequently come in handy when evaluating such ideologically distinct figures as Thomas Friedman and Slavoj Zizek. In the former case, Gray explained the surprising similarities between Friedman’s thinking about globalization and Marx’s, both of which were prone to shunting aside cultural analysis to focus on technological advancement. In his dissection of Zizek, meanwhile, he lauded Marx’s empiricism, which stands in stark contrast to the blathering of his “Leninist” (in Zizek’s word) follower.

It was in his 1995 book on Isaiah Berlin, however, that Gray (who studied under Berlin at Oxford) was at his finest, largely because he managed to put forth a reading of Berlin’s political philosophy that added up to something significant. Berlin was often accused of failing to provide a grand theory for his many arguments about liberalism, largely because celebrating “negative liberty”—essentially being left alone, free from interference—does not necessarily yield a coherent political philosophy. But Gray showed that Berlin’s distrust of monism added up to a robust pluralism, or what Gray called an “agnostic liberalism.” “The master-thesis of pluralism supports liberalism,” he wrote, further defining it as a sort of liberalism that “grounds itself on the radical choices we must make among incommensurables.”

Inspired by a dream I had

I am very pleased to have an essay/chapter in This Mess is a Place, a collection on hoarding and clutter, edited, compiled and misfiled by Zoë Mendelson. The book is currently available at Camden Arts Centre, with wider distribution to follow from the very wonderful AND Publishing.

This Mess is a Place: A Collapsible Anthology of Collections and Clutter is a limited edition publication, edited/curated by Zoë Mendelson and published by And Publishing.

This publication looks at the onset of hoarding through the voices of clinicians and expands the theme to examine how relationships to objects in space inform a number of fields in ways that can be seen to interrelate and impact upon each other. The idea behind the form of this anthology is that practice and artistic research can co-exist with more clinical and scientific research. It is hoped this will create overlaps and crises of ‘usefulness’ akin to the submersion of materials within a hoard or the pursuit of order within a collection. The publication itself is unbound – illogical and precarious as an object, containing loose leaves, pamphlets and nominal filing systems, gathered together in no particular order. The reader is ultimately responsible for the order (or dis-order) of the piece. Publication date is October 26th 2013.

It includes articles, artworks, interviews and fiction. Alongside This Mess is a Place's own collaborators from psychiatric and archival fields there are contributions of artistic projects from Jim Bay (UK); Michel Blazy (FR); Carrie M Becker (USA); Marjolijn Dijkman (NL); Nat Goodden (UK), Jefford Horrigan (UK); Dean Hughes (UK); Mierle Laderman Ukeles (USA); Robert Melee (USA); Zoë Mendelson (UK); Florence Peake (UK); Michael Samuels (UK); Kathryn Spence (USA); Tomoko Takahashi; Robin Waart (NL); Julian Walker (UK) and Laura White (UK).

The publication contains essays and documents by Dr. Colin Jones (Senior Lecturer/Researcher in Applied Health and Social Sciences, UK); Dr. Haidy Geismar (lecturer in digital anthropology and material culture, US/UK); Jeremy Gill (urban planner and theorist, AUS); Cecilie Gravesen (artist, curator and writer, UK/Den); Dr. Alberto Pertusa (consultant psychiatrist, UK); Daniel Rourke (artist and researcher, UK); Isobel Hunter (archivist and Head of Engagement at the National Archives, UK); Satwant Singh (nurse practitioner and cognitive behavourial therapist, UK); Nina Folkersma (curator and critic, NL); Alberto Duman (artist, writer, UK). A full list of essay titles can be seen here. The publication also includes documentary photography by Paula Salischiker (ARG) and an interview with an anonymous hoarder's daughter

Deliberate RT ‏@fieldproducer Oh dear someone at CNN didn't get the memo: obit pic of Thatcher w Jimmy Savile: http://t.co/2WH6y7S6vO – Lauren G (geeoharee) http://twitter.com/geeoharee/status/321238781799841792

Let's make one thing clear: Jim Collins won't grow you a house any time soon. More than a decade ago, Collins, a decorated scientist at Boston University, helped give birth to synthetic biology, which soon grew into arguably the world's hottest and most poorly defined scientific discipline.

For more from the AT&T Archives, visit http://techchannel.att.com/archives

Jim Henson made this film in 1963 for The Bell System. Specifically, it was made for an elite seminar given for business owners, on the then-brand-new topic — Data Communications. The seminar itself involved a lot of films and multimedia presentations, and took place in Chicago. A lengthy description of the planning of the Bell Data Communications Seminar — sans a mention of the Henson involvement — is on the blog of Inpro co-founder Jack Byrne. It later was renamed the Bell Business Communications Seminar.

The organizers of the seminar, Inpro, actually set the tone for the film in a three-page memo from one of Inpro's principals, Ted Mills to Henson. Mills outlined the nascent, but growing relationship between man and machine: a relationship not without tension and resentment: "He [the robot] is sure that All Men Basically Want to Play Golf, and not run businesses — if he can do it better." (Mills also later designed the ride for the Bell System at the 1964 World's Fair.) Henson's execution is not only true to Mills' vision, but he also puts his own unique, irreverent spin on the material.

The robot narrator used in this film had previously starred in a skit for a food fair in Germany (video is silent), in 1961. It also may be the same robot that appeared on the Mike Douglas Show in 1966. Henson created a different — but similar — robot for the SKF Industries pavilion at the 1964 World's Fair.

This film was found in the AT&T Archives. Thanks go to Karen Falk of the Henson Archives for providing help and supporting documentation to prove that it was, indeed, a Henson production..

Footage courtesy of AT&T Archives and History Center, Warren, NJ